Indiana University Press: "In Truth and Genesis, Miguel de Beistegui considers the role and meaning of philosophy today. Calling for a new departure for philosophy, one that brings together philosophy's scattered identities, de Beistegui proposes a robust and unified philosophy that would find itself equally at home in artistic and scientific disciplines. To build this renewed philosophy, de Beistegui turns to Aristotle and the earliest foundations of thought. He traces philosophy's development through the medieval and modern periods before comparing and investigating the work of two of the 20th century's most influential thinkers, Martin Heidegger and Gilles Deleuze. In particular, de Beistegui focus es on Deleuze's Difference and Repetition and Heidegger's Contributions to Philosophy for their handling of the concept of difference. De Beistegui concludes that Deleuze and Heidegger are irreconcilable, but it is in their disagreements that he sees a way to liberate philosophy from its current crisis. "
These days I am looking into this book, Miguel de Beistegui's Truth and Genesis... ("beautiful mind") Since he refers to Deleuze a lot ( In my Philosophy Irrfahrt...I lost track of him after I began to get acquainted to his ideas some years back) I wanted to know more about him and I came across the attached interesting Document, which I like. If you want, take a moment please to throw a glance or more. It is worth it.(He has much to say on "becoming" . The way his ideas are presented here -its form- is also agreable)......
L’Abécédaire de Gilles Deleuze, avec Claire Parnet
Directed by Pierre-André Boutang (1996)
….philosophy is like [painting with] colors
…..because philosophy is like [painting with] colors, before entering into it, one has to take so many precautions, before conquering the “philosophical color” — and the philosophical color is the concept. Before succeeding in inventing concepts, an enormous amount of work is necessary. Deleuze sees the history of philosophy as this slow modesty, taking a long time doing portraits. It’s like a novelist, Deleuze suggests, who might say, I’m writing novels, but cannot read any because I’d risk compromising my inspiration. Deleuze says he has heard young writers make such frightening statements which, for him, means they simply do not need to work. Moreover, Deleuze sees the history of philosophy not only as having this preparatory role, it succeeds quite well by itself. It is the art of portraiture in so far as it allows one to reach toward something. At this point, it becomes a bit mysterious, says Deleuze, and he asks Parnet perhaps to give him another question so he can define this ……
…..there is a music in these philosophers
A third order of things, a kind of connection among them all, are affects. Deleuze says that, of course, there are no percepts without affects, but that these are specific as well: these are becomings that exceed him or her who goes through them, exceed the strength of those who go through them. Doesn’t music lead us into these forces that exceed our grasp? It’s possible, Deleuze answers. If one takes a philosophical concept, it causes one to see things since the greatest philosophers have this “seeing” trait or aspect , at least in the philosophers that Deleuze admires: Spinoza causes one to “see”, one of the most visionary philosophers, Nietzsche as well. They all hurl forth fantastic affects, there is a music in these philosophers, and inversely, music makes one see some very strange things, colors and percepts. Deleuze says he imagines a kind of circulation of these dimensions into each other, between philosophical concepts, pictorial percepts, and musical affects. There’s nothing surprising in there being these resonances, he maintains, just the work of very different people, but that never stop interpenetrating………………….